Joek

https://www.dropbox.com/sh/3d8pq66127r38xi/AABbzFN1L5amxx8Jy6bdt1ECa?dl=0

Here are some raw (4:1) files for you guys to play around with. As always please don't use these commercially. 

1 hour ago, Anaconda_ said:

I've been waiting on buying a gimbal until the Ronin S is updated so the focus wheel can work with this camera - however, I just thought that since the focus on that gimbal is via the USB on the camera, and the camera then controls the focus, that likely means that adapted lenses won't be compatable... right?

If tap to focus doesn't work with a speedbooster, then chances are this 'software' follow focus also won't work. Would it then be better to get the Crane 2 as their 'hardware' / mechanical follow focus is now included for free.

Yes you'll have part of the gimbal blocking your screen, but that's far easier to work around than the Ronin's focus issues (if there are any with adapted lenses).

Or am I missing something and there's an even better solution?

 

Dji is supposed to release a focus motor that will allow the Ronin-s to focus virtually any camera. 

2 hours ago, Andrew Reid said:

When BM first got into camera market they had excuses for 'bad behaviour' such as unfinished cameras being released after long delays with the contents of a mouse's dinner behind the mount cap. I am not sure I want to go through it again. Such obvious BS.

Why sacrifice EVERYTHING nice about something like a GH5 or X-T3, for JUST RAW? What is it doing for you that 10bit LOG doesn't? Let's get a reality check before people burn their fingers.

I need to talk to BM and as respectfully as I can tell them to really think about the way they are handling this camera release...from design, to manufacturing, to shipping, to even marketing, it's all flawed and off-putting.

Still a very interesting option but c'mon.

Sounds like a bit of an excuse for them that does!

A heat sink cannot be separate to the stuff it is cooling, so if water or whatever (spiders!?) is going in that massive hole on both top AND bottom it is going to meet up with vital stuff.

Yes it can. Look at any modern computer, usually the proccessor's heat sync is connected by small copper pipes filled with gas to the heat block and on modern computers this can be up to a foot or more away (although usually it's less than a few inches). This property is what allows laptops to be so thin. They could easily use an external heat sync and put a water tight seal around the pipes going to it. 

55 minutes ago, Andrew Reid said:

I am just wondering how he can say it's the gold standard, in the same breath of "it's not a low light camera"

It's not full frame either.

"Fan a none issue!"

It is an issue. It has a great whacking hole in the top!!

I am interested to find out how they stop dust getting in there and onto the sensor, as the fan is primarily there to cool the sensor and image processor.

I would also be frightened of a slight bit of drizzle or sand. You guys plan to use it in a plastic bag?

...I'm guessing the sensor itself is sealed in the front with the mount. The heatsync for the sensor is what is exposed. If it was sealed correctly and used an all weather fan they could have potentially made it "wheather sealed," but I'm sure they're using the fan for more than just the sensor heatsync in this case. 

2 minutes ago, zerocool22 said:

Blackmagic should have waited before releasing it to other NLEs. Which would have made a lot of users swap instantly to resolve. 

Nah, Apple tried that and everyone hated them for it. I think this is the smarter approach when it comes to creating a standard.

There's already a feature request for BRAW ?

 https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/35405632-support-blackmagic-raw

2 hours ago, Anaconda_ said:

That's surprisingly low, if you consider how many people use Adobe products. 

It's the most they've had on that website for any current feature request. Here's the link: https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/33864517-support-for-prores-raw?tracking_code=f1fd9a4ffb3ab15db819b004dfd11282

Correction: There are currently 676 votes 

2 hours ago, jonpais said:

Out of curiosity, how good is Adobe with updates?

Not the greatest. I know they just announced a fall update that resolves a few color management problems they've had for quite some time, but I also know a lot of people (Myself included) have switched over to Davinci Resolve because of adobe's slow update schedule and instability. Blackmagic seems to implement new features faster than adobe can fix their old ones. 

2 minutes ago, jonpais said:

That is hysterical. Prores RAW has only been out a few months and has already been implemented in Sony, Panasonic and Canon cinema cameras. It is up to NLEs to implement Prores RAW, not Apple. But yeah, Appke does desrce every bit that’s coming to them - all $850 billion dollars of it. ?

 

Actually if you watch the announcement video of prores raw by Atomos, the CEO briefly mentions that Apple has restricted prores raw for the first 6 months. The reason we have access to prores raw on so many cameras right now is because the Atomos Inferno supports it. Apple and Atomos released prores raw together. I know there's been a feature request since the beginning to get support in premiere, and it currently has over 700 votes. Yet Adobe has had no word on an update, and seeing that it's been 5 months... 

6 minutes ago, Andrew Reid said:

I think there's more than enough room for a few new raw codecs on the market.

RED raw did not kill any Apple codecs as far as I could tell!!

Well RED Raw is only available on red cameras so.... Blackmagic raw has the potential to be way more widespread 

1 minute ago, dslnc said:

And did they just seal the proresraw fate?

I hope so. I've been waiting since the beginning for Prores Raw to be supported on any windows based NLE and Apple has been purposefully holding back. Apple deserves what is coming to them. 

19 minutes ago, capitanazo said:

i have to say bye bye to my h265 120fps workflow :cc 
the 4x crop is insane, i will need a 10mm ff lens attach to a xl speedboster to get a 40mm on ff

:cccc 

well 4k60p 3:1 raw doesnt look a bad option

 

...a 10mm lens with the 4x crop and a XL speed booster would come out to about 24mm (1.9 base crop multiplied by .64 by the speed booster multiplied by 10 for.the lens and multiplied by 2 for the 120fps crop.) 

3 minutes ago, hugofilipe said:

It does, thats why I wonder how BM would do it with only one ssd or cfast. My hope was dual recording to CFast and SSD, but looks like it wont.

Yeah, that stinks. Maybe we'll get prores raw at least. It's no DNG, but it's pretty close 

1 minute ago, hugofilipe said:

That would be bad. I pre-ordered this to replace my Sony FS and Odyssey recorder, I can do 4K60 with it ?

Doesn't the odyssey record to dual ssds? 

24 minutes ago, hugofilipe said:

A little offtopic but I havent found the answer for this anywhere.

It does record 4K cdng 60fps, if 30fps is 272MBps, 60fps is 544MBps.

Most CFast and SSD dont write at this speed, how will this work out?

What am I missing here?

I'm gonna take a guess and say it can only do 4k60p DNG at 3:1. Not even the atomos inferno can do 4k 60p to DNG

12 minutes ago, Hans Punk said:

Yeah - it needs a cable strain relief on it IMHO...looks like the 8sinn solution have recognized that.

Agreed. Though I really like the "mag" approach, it takes up less space and looks like it has the potential to be a more solid connection. Plus it reminds me of RED ?

Not sure if you guys had seen this yet. I think I'll end up going this route https://m.facebook.com/story.php?story_fbid=1992653517699491&id=218039178657651

https://youtu.be/0Jyl4HeNh1s More footage! 

44 minutes ago, Savannah Miller said:

5DIII uses pixel-binning.  That generally does not artifact like line skipping does.

True. Though I find the image quality still isn't as sharp as it could be when using it in 3x crop mode. But binning does theoretically average out a lot of the noise, so in a way I suppose the image is cleaner. 

5 hours ago, Tone1k said:

Yes, there is a little moire in certain situations when shooting 2K@240fps.

For the most part it's not an issue and with 4k up to 120p, I rarely use the 2K feature but personally I prefer Sony's implementation to a 4x crop. 

I prefer the crop. Line skipping introduces a ton of issues and drops the overall quality. With cropping all you have to do is simply use a wider lens. Plus for some reason Sony's implementation of it tends to exaggerate the moire, but I guess you could argue that's more of a OLPF issue... 

Not surprising, but interesting that they answered. 

Quote

Spot on mate, Spoke to atomos it can only do 4k 30p in pro res raw, I think its due to having the processing power. The 4k 60 can only be done across two drives on the 7q, There may be an option on the 7Q I doubt Atomos will support it. 

I think you're confusing Cinema DNG with Prores raw. I own a fs700r/Inferno setup and can assure you that you can record 4k60p in prores raw. You can even record 2k240p